Rhythm, humor, and throwBACs at the Black Arts Company’s fall dance show

When the curtains parted at the Black Arts Company’s dance show on Nov. 14 to reveal a lit projection screen, I was confused. Wasn’t this supposed to be a dance show?

The excitement was palpable in Frist Theater as friends and students filled its aisles. A hum of chatter filled the room as nostalgic R&B and hip-hop beats boomed in the background, with the occasional audience member singing along when a song they knew came on. A few minutes past the opening time, the crowd’s conversations faded to a silence as the lights darkened.

My initial confusion about the show quickly faded as a themed introduction video played, introducing each member of BAC in short video clips. Cheers erupted from friends in the crowd whenever a new smiling member came on screen, waving or striking a pose while sporting staple ’90s attire like denim overalls and butterfly clips. Soon, the screen faded to the opening title screen: ThrowBACk, presented by the Princeton Black Arts Company.

The night’s main theme consisted of dance numbers interspersed with BAC’s pre-recorded Princeton-themed parodies of popular ’90s sitcoms. All shot on campus, the show opened with “The Fresh Prince of Late Meal,” a parody of “The Fresh Prince of Bel Air.” Here, we follow the main character Kevin, played by Kevin Keys ’29, as he gets kicked out of the house by his mom for stealing cups and plates from late meal. Alongside various supporting characters, all portrayed by members of BAC, the storyline progressed to a spin on the show “Family Matters” after a dance break. Keys continued trying to find a place to stay for a night, now landing in the home of the cast of “Family Matters.”

In between the short sitcom-style minisodes building up the storyline, alternating groups of six to 12 members filled the stage with polished and energetic hip hop choreography to the tunes of Travis Scott, Migos, Megan Thee Stallion, and more. One particularly memorable set of choreography was set to “Freak” by Doja Cat and “Redbone” by Childish Gambino. As the audience settled down in their seats after intermission, dim pink light came on to reveal members seated straddling metal foldable chairs facing the audience.

As “Freak” began to play, the dancers’s sometimes-suggestive choreography began on and around the chairs as props, then moved them fluidly to the floor. The frisky choreography, dancers’s red lace-adorned outfits, and lighting combined created a risqué atmosphere, making for a truly immersive experience. It was a performance that might leave you clutching your seat, your pearls, or maybe both.

In the middle of the show, dancers turned the performance to the audience via a dance battle, where audience members got up on stage and danced to songs selected on the spot by an unseen DJ. After multiple rounds of eliminations, a winner was crowned based on the volume of audience cheers and applause. With fluid moves, stomps, and sharp displays of body control, I was impressed with the range of talents from audience members seated just a few aisles away from me.

The parodied storyline advanced as Keys reflected on his actions of stealing cups and plates across various scenes. Finally, Keys made his way back home, where the show ended with a wholesome reconciliation between him and his mother.

Throughout the course of the show, I was thoroughly entertained and impressed by the skill of the entire BAC cast in executing their vision. The lighthearted sitcom snippets, combined with the wide range of atmospheres crafted through the dance performances, showcased BAC’s versatility and creativity.

Leia Pei is a contributing writer for The Prospect. She is a member of the Class of 2029, and can be reached at lp2943[at]princeton.edu.

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